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    Sale 11965

    Fifty Prints by Rembrandt van Rijn A Private English Collection

    5 July 2016, London, King Street

  • Lot 24

    Rembrandt Harmensz. van Rijn

    View of Amsterdam from the Kadjik

    Price Realised  


    Rembrandt Harmensz. van Rijn
    View of Amsterdam from the Kadjik
    etching, circa 1642, on laid paper, without watermark, a very fine impression of New Hollstein's only state, with the distant landscape printing very strongly and the reeds in the foreground richly black, with small margins, in very good condition
    Plate 111 x 154 mm., Sheet 119 x 160 mm.

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    In this View of Amsterdam, Rembrandt achieves an extraordinary amount of depth despite the very low horizon, by pushing the reeds and other plants growing along the canal and the footpath very prominently into the foreground while the city appears diminutively small in the far distance. In fact, the tallest blade of reeds is rendered in the same size as the tallest spire of the town, that of the Oude Kerk. It is a remarkably wide vista for a relatively small plate, which encompasses almost the entire city, albeit in the reverse. Eric Hinterding describes the recognisable landmarks from left to right: ‘the Haringspakkertoren, the Oude Kerk, the Montelbaanstoren, the warehouses and ships’ wharves of the Dutch East India Company and the mill on Het Rijzenhoofd bulwark.’ (Hinterding, Lugt Collection, no. 165, p. 284)

    That the panorama is shown in reverse may indicate that Rembrandt drew it on the spot, directly onto the plate. Had he worked from a preparatory drawing, it seems plausible that he would have transferred the drawing onto the plate in order for it to print the right way round. According to some authors however, the fact that Rembrandt took some liberties with the actual topography contradicts this idea and indicates that he manipulated the view in the studio, rather than drawing outdoors onto the plate exactly what he saw.

    Be that as it may, the View of Amsterdam from the Kadijk gives us an intense impression of the place. In particular, Rembrandt understood how important the sky was for the depiction of this flat landscape, and by leaving the upper two thirds of the plate entirely blank he was able to convey a sense of the vastness of the sky.

    The present impression is equal to both the Malcolm and Cracherode impressions and only marginally weaker than the brilliant Slade impression in the British Museum.


    Probably Alexander Gibson Hunter (early 19th century), Scotland, (cf. Lugt 2306, but without his mark).
    With Colnaghi, London (their stock number W. 614A in pencil verso); presumably bought from the above.
    Acquired from the above, 17 January 1961 (£480).


    Bartsch, Hollstein 210; Hind 176; New Hollstein 203 (only state).